The final blog and time for some crazy forms, from crazy
The first four measures of the piece consist of block chords on each quarter note. The first chord established that the key is D minor and goes through a series of chords without any cadence for the four bars and the downbeat of the fifth bar brings us back to the D minor chord but it’s hard to call this a cadence because the chord before it was a G Flat major chord. It does sound like a finale for the section though bV-i isn’t a traditional cadence. There is then a two bars of single line quarter notes that basically is a D minor chord that ushers in the next section.
The next section is four measures of a pedal D7 chord which serves as a dominant for the key of G and has some strong dissonances in the melody with C sharps and E flats that are played several times each before moving on to the next note.
This is followed by a six measure phrase with a new melodic idea with some thirty second notes and triplets and eventually makes its way to C major with a V7-I switching in the last couple of bars. This is followed by a short pattern of grace notes for two notes that go down and hit an A9 chord then a really weird chord with a G, A, B, D flat, and F which is the chord that a melody that is similar to the one that was on top of the D7 chord. This is followed by a couple of very fast lines going down followed by really high chords.
And from all that weirdness, the original chordal structure comes back for a recapitulation. The first two measures outline the same chords that happened the first time but the second two measures’ chords are changed and ends up making a plagal cadence of sorts going from F minor to a C major with a 9th. The C major with a 9th chord is the final chord of the song, and on top of it is some of the same melodic type content with the thirty second notes and triplet figures.
Though there is some feeling of going back to similar melodies throughout the song, in this Impressionism style form really isn’t important and the only thing